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ROERICH 


Compiled  and  Edited 
By  The  Publishers 


CORONA  MUNDI 

"■  IN\  ■ 

INTERNATIONAL 
— ART  CENTER  — 


310  RIVERSIDE  DRIVE,  NEW  YORK 


CORONA  MUNDI 

— INC- 

INTERNATIONAL 
— ART  CENTER  — 


NEW  PUBLICATIONS: 

ADAMANT  by  Roerich 

A Collection  of  Essays  of  the  Great  Master 

$1.00 

WORLD  OF  ROERICH  by  Nina  Selivanova 
A Biography  of  the  Artist  by  the  Well- 
known  Russian  W'riter  $1.50 

MICULA  BOYANOVICH 

by  George  Grebenstchikoff 
{In  Preparation ) A Story  of  Russian  Life 
by  one  of  the  Greatest  Contemporary  Rus- 
sian Authors  $2.50 


Copyright,  1924 
All  rights  reserved 


NICHOLAS  ROERICH 


From  a Portrait  by 
SVIATOSLAV  ROERICH 


NICHOLAS  ROERICH 

“True  Art  is  the  expression  of  the  radiant  spirit. 
Through  Art  thou  hast  the  light.” 


— Leaves  of  Morya's  Garden. 


iOERICH  must  be  counted  among  those  few  who 


through  the  epochs  of  history  stand  out  as 


JL  m_  supreme  prophets  of  their  age.  It  is  as  though 
he  had  found  some  higher  summit  from  which  to  over- 
look the  entire  horizon  of  human  activity.  Whereso- 
ever he  turns  his  creative  ardor,  there  can  be  perceived  the 
searching  quality  of  a spirit  that  sounds  to  its  full  depths 
the  stream  of  universal  knowledge. 

Such  an  all-embracing  spirit  is  Roerich  whether  we 
study  his  achievements  as  architect,  as  educator,  as 
archaeologist,  as  poet,  as  painter  or  as  prophet.  From 
his  quests  into  one  field  of  creation  he  draws  inspiration 
for  other  fields,  expounding  in  his  own  accomplishments 
the  truth  that  all  creation  comes  from  a single  source. 

From  his  boyhood  Roerich  is  fascinated  by  the  visage 
of  antiquity,  exploring  the  ancient  remains  of  his  country 
and  experiencing  for  himself  the  thrill  of  intimacy  with 
the  past.  Thus,  he  becomes  one  of  the  great  archaeologists 
and  adds  his  discoveries  to  the  sum  of  human  knowledge. 
And  so  does  he  learn — from  the  impersonal  aspect  of 
time — the  place  of  man  in  the  creative  plan. 

So,  too,  in  his  architectural  researches,  in  his  trips 
through  Russia  studying  the  vast  influences  which  have 
laid  their  impress  on  Russian  architecture.  He  sees  the 
significance  of  Russia’s  earliest  creation  and  in  paintings 
and  writings  champions  the  preservation  of  this  art.  And 
he  rouses  a real  love  of  early  creation. 

As  an  educator  Roerich  builds  up  the  Academy  of  the 


Society  for  the  Encouragement  of  Arts  in  Petrograd  un- 
der his  directorate,  to  a still  greater  institution  embody- 
ing his  high  ideals  of  teaching.  Here,  too,  he  is  able  to 
spread  a w ider  appreciation  of  all  arts,  and  even  then 
shows  his  faith  in  American  art  by  organizing  the  first 
exhibition  of  American  paintings  in  Russia. 

In  his  writings,  too,  we  see  this  universal  note — his 
poetry  throbs  with  a symbolism  of  firm  and  triumphant 
rhythm. 

It  is  in  his  painting,  however,  that  his  genius  leaps  to 
its  fullest  flame.  Here  does  that  experience  gathered  by 
his  versatile  spirit  reach  its  zenith.  The  beginning  of  his 
creative  work  is  at  once  a conquest.  His  retrospect  view 
of  man  reveals  itself  in  the  sense  of  antiquity  which  veils 
his  early  paintings.  Through  conceiving  the  world’s 
twilight  hours,  he  is  able  to  transmit  an  ageless  spirit  to 
his  art. 

One  of  Roerich’s  first  great  steps  is  the  determination 
of  a defined  style  of  expression.  This  style  has  a deeply 
underlying  significance,  for  it  again  reveals  the  character- 
istic greatness  of  the  man  who  studies  with  the  under- 
standing not  merely  of  his  own  time  but  of  all  time. 
Thus  the  image  which  he  creates  possesses  the  luster  of  a 
spiritual  sight.  It  is  not  merely  terrestrial  beauty  con- 
cerned with  detail;  something  has  been  added,  something 
immortal.  No  longer  is  his  work  subject  to  the  fluctua- 
tion and  the  reiterated  decay  of  earthly  beauty — this 
transmutation  has  lent  to  his  conception  an  eternal 
aspect. 

Thus  solving  the  problem  of  his  creative  mode,  he  is 
free  to  venture  endlessly  in  search  of  his  themes.  And 
here  his  resources  are  unlimited,  for  within  him,  he  holds 
the  seasame  to  unfathomed  worlds.  No  artist  perhaps 
has  ever  showed  a greater  universality  of  theme  and  sub- 
ject, nor  ventured  more  fearlessly  into  wider  spiritural 
provinces. 


vi 


And  to  further  glorify  this  aspect  Roerich  draws  from 
the  full  radiance  around  him ; his  works  vibrate  with 
supreme  harmonies  and  throb  with  that  resplendence  of 
color  which  makes  man  worshipful  of  nature.  Where  in 
history  has- a man  used  such  an  array  of  pure  color  with 
such  overwhelming  strength!  It  is  not  to  be  wondered 
that  “Roerich  Color”  has  become  a byword.  His  rocks 
and  mountains  with  their  feeling  of  power  seem  like  the 
inevitable  forces  of  destiny.  His  skies  casting  their  mood 
of  brilliance  over  each  painting,  disclose  heaven’s  proudest 
banners ; and  his  distances  so  without  detail,  yet  so  signif- 
icant, bespeak  infinity. 

He  attains  another  summit  with  his  religious  pictures 
such  as  “Saint  Boris  and  Saint  Gleb,”  “Fiery  Furnace,” 
“Treasure  of  the  Angels.”  In  these  he  seems  to  trans- 
figure the  spirit  of  the  ancient  Russian  church  pointings. 
For,  long  previous  to  the  general  recognition  of  ecclesias- 
tic art,  he  understood  its  greatness  and  predicted  its  wider 
appreciation. 

Another  aspect — perhaps  the  most  significant  of  all — 
is  found  in  his  prophetic  paintings.  Since  1910  some  of 
Roerich’s  greatest  canvasses  seemed  enveloped  in  a mood 
of  prevision  and  foreboding.  It  was  as  though  the  spirit 
of  Roerich  had  pierced  beneath  the  seeming  calm  of  those 
years  and  had  seen  the  fomenting  chaos.  “Heavert’s 
Battle,”  “The  Last  Angel”  and  “Cry  of  the  Serpent” 
bespeak  a prophecy  of  the  terrible  conflict  ahead."  And 
it  is  the  same  intuition  which  inspires  Roerich’s  paintings 
thenceforward.  During  the  dismal  war  years,  his  faith 
in  the  ultimate  spiritual  regeneration  comes  to  light  in 
his  paintings  of  the  Saints  with  their  promise  of 
benediction. 

With  the  period  commencing  with  his  arrival  in 
America,  Roerich  has  thus  far  reached  the  consummation 
of  his  creative  life.  His  wide  resources  are  apparent  and 
his  genius,  so  simple  yet  so  triumphant,  arouses  new 


Vll 


activities.  In  Chicago  he  founds  Cor  Ardens,  an  inter- 
national society  of  Artists.  In  New  York  in  1921  he 
organizes  the  Master  Institute  of  United  Arts,  for  the 
first  time  bringing  the  teaching  of  all  arts  under  one 
roof.  And  the  following  year  he  organizes  Corona 
Mundi,  the  International  Art  Center  with  its  wide  edu- 
cational purpose  of  spreading  greater  love  of  beauty. 

Nor  does  his  own  production  lessen  in  America.  In- 
stead it  seems  to  attain  climatic  force,  and  his  prophetic 
vision  becomes  apocalyptic.  Clearly  is  this  discerned  in 
his  “Sancta  Series”  and  in  his  “Messiah”  paintings,  his 
latest  messages,  where  he  perceives  the  fulfillment  of 
age-old  legends  in  the  new  world  of  America.  In  these 
works  it  is  as  though  there  was  crystallized  the  eternal 
moment  when  past  and  present  blend  and  recede  before 
the  future.  The  morning  stars  pale  before  the  sun, 
rising  effulgent  in  victory! 

In  “Bridge  of  Glory”  we  see  Saint  Sergius  amid  the 
beauties  of  Maine,  and  beholding  the  Northern  Lights, 
he  contemplates  upon  the  Bridge  of  Glory  uniting  all  men. 

“Legend”  and  “Miracle”  (“Messiah”  Series)  picture 
the  fulfillment  of  two  ancient  legends.  The  first  is 
founded  on  the  belief  that  the  Messiah  shall  come  in  a 
cloud  and  the  sword  shall  be  as  a comet  in  his  hand. 
And  so  a youth  walks  in  the  wide-spreading  Arizona 
landscape  reading  from  the  old  scroll,  while  behind  him 
already  rises  the  white  cloud.  In  “Miracle”  we  per- 
ceive the  outlines  of  the  Grand  Canyon  like  an  ancient 
temple  and  in  the  foreground,  seven  figures  are  prostrated 
before  an  advancing  radiance  crossing  a bridge  in  fulfill- 
ment of  the  legend  that  Messiah  will  come  across  a 
bridge.  With  such  prophetic  visions  does  Roerich  take 
man  to  the  gates  of  heaven  ! 

Whoever  looks  on  Roerich’s  art  is  borne  upwards  by 
the  promise  within,  for  his  universal  appeal  is  evidenced 
not  alone  by  the  fact  that  his  works  are  spread  in  the 

viii 


museums  and  collections  of  some  twenty-one  countries. 
With  a spirit  akin  to  folk  art,  his  work  speaks  to  the  souls 
of  men.  Connoisseurs,  the  simple  people  and  even  chil- 
dren seem  to  find  within  the  paintings  the  answer  to  some 
deep-felt  and  unuttered  hope. 

Hence  can  one  discern  why  Roerich  stands  as  the  voice 
of  an  epoch.  His  creation  and  activity  sum  up  the  trend 
of  human  progress  and  penetrate  universal  secrets.  Man 
to  him  is  important  as  he  takes  his  place  in  the  plan  of 
eternity.  And  he  discerns,  too,  the  part  which  Nature 
plays  as  the  eternal  witness  to  the  upward  progress: 
Whether  under  the  ever-varying  skies,  within  the  cool 
forest  or  under  the  shade  of  the  mountain,  man  treads  his 
upward  way  while  within  him  an  eternal  voice  beckons 
him  onward. 

Other  creators  have  found  their  happiness  in  making 
a record  of  their  day — of  a moment  of  infinity.  Not  so 
Roerich:  His  art  bears  to  other  paintings  the  same  undy- 
ing aspect  as  Scripture  to  men’s  writings.  He  concerns 
himself  not  with  the  temporary  but  with  the  immortal. 
T he  gaunt  shadows  which  now  creep  over  the  earth  dis- 
torting the  real  visage  of  man  do  not  disarm  him.  He 
sees  beyond  and  knows  with  full  faith  that  dawn  is  ahead 
and  with  it,  victory  and  universal  peace. 

As  he  proclaims:  “The  sign  of  Beauty  will  open  all 
sacred  gates.  Beneath  the  sign  of  beauty  we  walk  joy- 
fully. With  beauty  we  conquer.  Through  beauty  we 
pray.  In  beauty  we  are  united.  And  now  let  us  affirm 
these  words — not  on  the  snowy  heights  but  amidst  the 
turmoil  of  the  city.  And  realizing  the  path  of  true  reality 
we  greet  with  a happy  smile  the  future.” 

The  Publishers. 

( The  following  sixty-three  reproductions  have  been  chosen 
from  more  than  1 500  paintings  thus  far  created 
by  the  artist .) 


IX 


he  Square  in  Putivile 

" Prince  Igor” 

Roerich  Museum,  New  York 


POLOVETSKY  CAMP 
" Prince  Igor ” 

Detroit  Art  Institute , Michigan 


The  Battle 

Museum  of  Alexander  III,  Petrograd,  Russia 


Heat  of  the  Earth 

Roerich  Museum,  New  York 


The  City  of  the  Serpent 

Roerich  Museum,  New  York 


Conquest  of  Kazan 

Mural  Decoration  of  Moscow  Railroad  Station,  Russia 


The  Weaver  of  Spells 


The  Miser 

Roerich  Museum,  New  York 


Pskov 

" Pskovitianka ” 

Roerich  Museum,  New  York 


Corridor  in  the  Castle 

Omaha  Art  Institute , Nebraska 


The  Secret  Signs 

Roerich  Museum,  New  York 


Valley  of  Yarila  from  “Snegourotchka 

Roerich  Museum,  New  York 


Snegourotchka  Series 

Roerich  Museum,  New  York 


Sadko's  Palace 

Collection  Adolph  Lewisohn,  New  York 


The  Shore  Near  Ledenetz  Town 

Roerich  Museum,  New  York 


Tristan  and  Isolde 

Roerich  Museum,  New  York 


Tristan  and  Isolde 

Roerich  Museum,  New  York 


/ Clouds 

Collection  of  J.  B.  Hubrecht,  Secretary  of  Netherland  Legation, 
Washington , D.  C. 


The  Command 

Roerich  Museum,  New  York 


The  Shore 

ich  Museum,  New  York 


Lake  of  Ladoga,  Finland 

Roerich  Museum,  Neiv  York 


Lake  of  Hympola,  Finland 

Roerich  Museum,  New  York 


Roerich  Museum,  New  York 


The  Unknown  Singer 

Collection  of  Ethel  Massey  Holmes  and  Medill  Smith  Gates 
Kansas  City,  Mo. 


Repentance 

Roerich  Museum,  New  York 


The  Holy  Mother 

Mural  Decoration  in  the  Chapel  at  Talashkino,  Russia 


Endless  Tracks 

Collection  Mary  B.  Longyear , Brookline,  Mass. 


“Ocean  Series” 

Roerich  Museum,  New  York 


Knight  of  the  Morning 

Roerich  Museum,  New  York 


Song  of  the  Moon 

Roerich  Museum,  New  York 


Language  of  the  Birds 

Roerich  Museum , New  York 


Dream  of  the  Orient 

Roerich  Museum,  New  York 





Song  of  the  Morning 

Roerich  Museum,  New  York 


■IP 


Church  of  Old  Novgorod 

Roerich  Museum,  New  York 


The  Secret  of  the  Walls 

Collection  of  John  Spaulding 
Boston,  Mass. 


Not  Gone  Yet 

Roerich  Museum,  New  York 


Snow  Guardians 

Roerich  Museum,  New  York 


New  Mexico 

Roerich  Museum,  New  York 


Santa  Fe,  New  Mexico 

Roerich  Museum,  New  York 


Grand  Canyon,  Arizon 

Roerich  Museum,  New  York 


And  We  Open  the  Gates 

“Sancta  Series ” 

Rnrrirh  Museum.  New  York 


And  We  Do  Not  Fear 

“Sancta  Series ” 

Roerich  Museum,  New  York 


And  We  Continue  Fishing 

*‘Sancta  Series” 

Roerich  Museum,  New  York 


And  We  Are  Trying 

*‘Sancta  Series ” 
Roerich  Museum,  New  York 


And  We  See 

“Sancta  Series” 
Roerich  Museum,  New  York 


And  We  Bring  the  Light 

“Sancta  Series” 

Roerich  Museum,  New  York 


“Himself  Came'" 

Collection  of  Louis  L.  Horch 
New  York 


The  Messenger 

Roerich  Museum,  New  York 


Saint  Sergius 

Roerich  Museum,  New  York 


Monhegan,  Maine 

“Ocean  Series ” 
Roerich  Museum,  New  York 


Monhegan,  Maine 

" Ocean  Series ” 
Roerich  Museum,  New  York 


Monhegan,  Maine 

“ Ocean  Series" 
Roerich  Museum,  Nezc  York 


Mon h egan,  Maine 

“ Ocean  Series” 
Roerich  Museum,  New  York 


Monhegan,  Maine 

" Ocean  Series ” 

Roerich  Museum,  New  York 


Monhegan,  Maine 

“ Ocean  Series” 
Roerich  Museum,  New  York 


Monhegan,  Maine 

“Ocean  Series’’ 
Roerich  Museum,  New  York 


Monhegan,  Maine 

" Ocean  Series ” 
Roerich  Museum,  New  York 


“Russian  Legend ” 
Roerich  Museum,  Nezv  York 


The  Bridge  of  Glory 

Roerich  Museum,  New  York 


Messiah  Series 

Roerich  Museum,  New  York 


"Miracle" 

Messiah  Series 
Roerich  Museum,  New  York 


Saintly  Guests 

Roerich  Museum,  New  York 


MUSEUMS  AND  PRIVATE  COLLECTIONS 
OWNING  ROERICH  PAINTINGS 


Austria 

Vienna:  Mietkee  Collection. 

Czecho-Slovakia 

Prague : Marten  Collection. 

Denmark  : 

Copenhagen : Hagemann,  Sheinin,  Savitzky  and  Feigenberg 
Collections. 

England 

London:  Victoria  and  Albert  Museum:  Worthing  Art  Gal- 
lery. Private  Collections  of  Countess  Benkendorff ; Braike- 
vich,  Alfred  Coates,  Cooper,  Lady  Dean  Paul,  Bembovsky, 
Hagberg- Wright,  Hubrecht-Northfield  and  Johnson. 

Finland 

Helsingfors : Athenaeum.  Private  Collections  of  Gallen- 
Kallela,  Hvatt,  Jarvinen,  Lydecken  and  Strindberg. 

Viborg : Private  Collections  of  Crotte,  Gourevich,  Groen- 
ross,  Rosenthal,  Rudnev,  Sheinen  and  Tumarkin. 

Raivola : Kersten  Collection. 

Sortavala:  Private  Collection  of  Frey,  Relander,  and  Solnt- 
zev. 

Tyriseva : Collection  of  Andreyeff. 

France 

Nice:  Livshitz  Collection. 

Paris:  Louvre,  Pavilion  Marsan ; Musee  National  du  Lux- 
embourg. Private  Collections  of  Baron  de  Baye,  Armand 
Dayot,  Maurice  Denis,  Goloubeff,  Jacquin,  Levinson,  Mello, 
Pavlovsky,  Denis  Roche,  Roumanov,  Sviatopolk-Shetvert- 
insky ; Princess  Tenicheva. 

Germany 

Berlin:  Tumarkin  Collection. 

Dresden : Rubin  Collection. 

Munich : Private  Collection. 

Holland 

Amsterdam : Stuertz  Collection. 

Hague : Pustochkin  Collection. 


India 

Balpur : Rabindranath  Tagore  Collection. 

Italy 

Rome : Galleria  Nazionale  di  Arte  Moderna.  Private  Col- 
* lection  of  Kamensky. 

Japan 

Tokio : Skidelsky  Collection. 

Latvia 

Riga : Shibayeff  Collection. 

Monaco 

Monte  Carlo : Collection  of  Alary  Garden. 

Rumania 

Kishinev : Museum  of  Bessarabia. 

Russia 

Kazan : Mantel  Collection. 

Kiev : Parhomovska  Church.  Private  Collections  of  Biel- 
ashevsky,  Filipov,  Hansen,  Tereschenko  and  Vlassov. 
Aloscow : Tretiakov  Gallery,  Bahrushin  Museum,  Palace  of 
Grand  Duchess  Elizabeth,  Terminal  of  the  Moscow-Kazan 
Railway.  Private  Collections  of  Burdhjhalov,  Chaliapin, 
Fetissov,  Goloushev,  Kirshmann,  Kassianov,  Karishev, 
Katchalov,  Knebel,  Koussevitsky,  Jakunchikova,  Korsinkin, 
Langovoy,  Lokhova,  Lopatina,  Leonidov,  Mardjhanov, 
Mark,  Matveiev,  von  Mekk,  Nemirovitch-Danchenko, 
Petrov,  Pokrovsky,  Perzov,  Sanine,  Serov,  Shehtel,  Stan- 
islavsky, Stcherbakov,  Prince  Stcherbakov,  Troyanovsky, 
Tretiakov,  Vissotzky  and  Zimin. 

Nijni-Novogorod : Municipal  Art  Museum. 

Odessa : Collections  of  Ashkinasi  and  Braikevich. 

Perm : Coskresensky  Convent. 

Peterhof : Palace  of  the  Grand  Duke  of  Oldenbourg. 
Petrograd:  Museum  of  Alexander  III.  Museum  of  the 
Society  for  the  Encouragement  of  Fine  Arts,  Museum  of 
the  Academy  of  Fine  Arts,  Aluseum  of  the  Russian  Arch- 
aeological Society,  Museum  of  the  Russian  Archaeological 
Institute,  Museum  of  the  Kuindji  Society,  Palace  of  the 
Grand  Duchess  of  Oldenbourg,  Palace  of  the  Grand 
Duchess  Olga. 

Private  Collections : Aleshin,  Allegri,  Prince  Argutinsky- 
Dolgoruky,  Bakulina,  Bajanov,  Bejetsky,  Beklemishev, 


Beliy,  Belozvietov,  Count  Benkendorff,  Benois,  Bertensohn, 
Bielkovsky,  Block,  Botkin,  Botkina,  Brodsky,  Butkovskaya,  . 
Burtzev,  Comaiko,  Crotte,  Danilov,  Davidov,  Dmitriev, 
Dobichina,  Drampov,  Dvukraev,  Eremeiev,  Ermakov,  Ev- 
reinov,  Fabrizius,  Fokin,  Fenoux,  Frolov,  Fuks,  Count 
Golenistchev-Kutuzov,  Maxim  Gorky,  Goldberg,  Golubeva, 
Gorielov,  Golubev,  Gourian,  Grigoriev,  Groushevsky,  Gui- 
doni,  Hilse  van  der  Paals,  Houdekov,  Count  Ignatiev,  Ivan- 
ov, Prince  Javahov,  Jeverjheev,  Karakash,  Karatiguin, 
Kamensky,  Kaiser,  Kistakovsky,  Kisstosser-Kitrossky,  Kol- 
osov, Komissarjhevsky,  Korovin,  Kondakov,  Kotovine,  Kitt- 
ner,  Kratchkovsky,  Krivenko,  Krivosheim,  Kurbatov,  Ldov, 
Duke  of  Leuchtenberg,  Levin,  Lipovsky,  Eivshitz,  Eopatine, 
Lubovsky,  Makovsky,  Makarenko,  Mark,  Mitussov,  Mol- 
vot,  Napravnik,  Neusheller,  Nechaev-Maltzev,  Nikolsky, 
Nottgaft,  Count  Olsoufiev,  Baroness  Osten-Sacken,  Ovsian- 
nikov,  Pilenko,  Pisemsky,  Pletnev,  Pokrovsky,  Prince  Pou- 
tiatin,  Poliakov,  Protopopov,  Remisov,  Reutern,  Rimsky- 
Korsakov,  Rijhov,  Rostislavov,  Roslavlev,  Roerich, 
Rumanov,  House  of  the  Insurance  Co.  (Russia)  ; Sahar, 
Sergovsky,  Shubin-Pozdieev,  Sleptzov,  Schneider,  Siromiat- 
nikov,  Soikin,  Soloviev,  Strabrovsky,  Strutinsky,  Stein- 
berg, Stchussiev,  Stchiavinsky,  Stepanov,  Princess  Sviato- 
polk-Chetvertinskaya,  Sviatlov,  Sviatlovsky,  Tchernishev, 
Princess  Trubetskaya,  Tickstone,  Tokarev,  Topper,  Ush- 
kov,  Vlassiev,  Zarubin,  Zabelsky,  Zbrueva,  Yaremitch. 
Pochayev:  Cathedral. 

Pskov : Chapel  on  Bridge. 

Simbirsk : Roerich  Collection. 

Schlusselburg:  Cathedral  of  St.  Peter  and  St.  Paul. 
Smolensk:  Tenishev  Municipal  Art  Museum. 

Talashkino : Church  of  the  Holy  Spirit. 

Tsarskoye-Selo : Grand  Imperial  Palace. 

Ufa:  Municipal  Art  Museum. 

Viatka:  Municipal  Art  Museum. 

Voronezh : Palace  of  the  Grand  Duchess  Olga. 


Sweden 

Stockholm : National  Museum. 

Private  Collections : Arne,  Bjork,  Key,  Mansson,  Nobel, 
Palmstierna,  Rubenstein,  Schanzer,  Sleptzov,  Taube,  Thiel, 
Wohlin. 


Switzerland 

Geneva : Horvat  Collection. 


United  States  of  America 

Baltimore:  Mr.  and  Mrs.  John  Garret. 

Berkeley,  Calif. : California  University,  A.  D.  Kaun. 
Boston : Private  Collections : Mrs.  Mary  Munro  Longyear, 
Mrs.  Mary  Cabot  Wheelwright,  John  Spaulding,  Nathan 
Dole,  Charles  Pepper. 

% Buffalo,  N.  Y. : Private  Collection : Mrs.  Cornelia  Sage 
Quinton. 

Burlingham,  Cal.:  Private  Collection:  Jerome  Landsfield. 
Cambridge,  Mass. : Widener  Library,  Harvard  University. 
Private  Collection : Professor  Charles  R.  Lanman. 

Chicago,  111. : Chicago  Art  Institute. 

Private  Collections:  Mrs.  John  Alden  Carpenter,  Mrs.  Co- 
burn, Mr.  Coini,  Dr.  Cornelia  Debey,  Samuel  Harper,  Rob- 
ert Harshe,  V.  Muratore,  A.  M.  Volkoff. 

Cleveland,  Ohio : Mrs.  Cole  Collection. 

Denver,  Colo. : George  Eggers  Collection. 

Detroit,  Mich. : Detroit  Art  Institute,  Clyde  Burrows  Col- 
lection. 

Evansville,  Ind. : Evansville  Art  Institute. 

Honolulu : Miss  Eleanor  Castle  Collection. 

Kansas  City,  Mo. : Kansas  Art  Institute,  Mrs.  Ethel  Massey 
Holmes. 

Milwaukee,  Wis. : Dudley  C.  Watson  Collection. 
Minneapolis,  Minn. : Mrs.  Maurice  Flagg  Collection. 

New  York,  N.  Y. : A.  Avinoff,  Mrs.  Arthur  Bookman, 
Charles  Crane,  Muriel  Draper,  Ossip  Dymov,  Louis  L. 
Horch,  Frances  R.  Grant,  S.  Golding,  Mr.  G.  Isvolsky, 
Otto  H.  Kahn,  Mrs.  Nina  Koshetz,  Adolph  Lewisohn, 
Maurice  Lichtmann,  Mrs.  Thompson,  A.  Sack. 

Oakland,  Calif. : Oakland  Art  Association,  Dr.  William 
Porter  Collection. 

Omaha,  Nebr. : Omaha  Art  Association. 

Philadelphia,  Pa. : Dr.  Christian  Brinton  Collection. 

San  Francisco,  Calif.:  Senator  J.  Phelan,  Mrs.  Salz,  Mrs. 
Rosenberg,  J.  Nielsen  Laurvik. 

Santa  Fe,  N.  M. : Dr.  Edgar  Hewitt  Collection. 

Stanford,  Calif. : Mrs.  Hahn,  Mrs.  Roy  Partridge. 
Washington,  D.  C. : E.  B.  Hubrecht. 


MASTER  INSTITUTE 

— OF  UNITED  ARTS  — 

Founded  in  New  York,  November  17,  1921 


MUSIC  - PAINTING  - SCULPTURE 
ARCHITECTURE  - OPERA  CLASS 
BALLET  - DRAMA  - LECTURE 

“ART  WILL  UNIFY  ALL  HUMANITY,  ART  IS  ONE— 
^INDIVISIBLE.  ART  HAS  ITS  MANY  BRANCHES, 
YET  ALL  ARE  ONE.  ART  IS  THE  MANIFESTATION 
OF  THE  COMING  SYNTHESIS.  ART  IS  FOR  ALL. 
EVERYONE  WILL  ENJOY  TRUE  ART.  THE  GATES 
OF  THE  ‘SACRED  SOURCE’  MUST  BE  WIDE  OPEN 
FOR  EVERYBODY,  AND  THE  LIGHT  OF  ART  WILL 
INFLUENCE  NUMEROUS  HEARTS  WITH  A NEW 
LOVE.  AT  FIRST  THIS  FEELING  WILL  BE  UNCON- 
SCIOUS, BUT  AFTER  ALL  IT  WILL  PURIFY  HUMAN 
CONSCIOUSNESS,  AND  HOW  MANY  YOUNG 
HEARTS  ARE  SEARCHING  FOR  SOMETHING  REAL 
AND  BEAUTIFUL!  SO,  GIVE  IT  TO  THEM.  BRING 
ART  TO  THE  PEOPLE— WHERE  IT  BELONGS.  WE 
SHOULD  HAVE  NOT  ONLY  MUSEUMS,  THEATRES, 
UNIVERSITIES,  PUBLIC  LIBRARIES,  RAILWAY 
STATIONS  AND  HOSPITALS,  BUT  EVEN  PRISONS 
DECORATED  AND  BEAUTIFIED.  THEN  WE  SHALL 
HAVE  NO  MORE  PRISONS.” — “PATHS  OF  BLESS- 
INGS.” 


310  RIVERSIDE  DRIVE 


NEW  YORK 


THE  AIMS 


It  is  with  special  cognizance  of  the  needs  of  the  Ameri- 
can world  of  arts,  that  the  Master  Institute  of 
United  Arts  was  organized  on  November  17,  1921. 
Despite  the  present  plentitude  of  schools  it  was  felt  that 
there  was  still  needed  one  which  would  bring  a new 
message  to  the  legion  of  those  seeking  for  beauty  and  for 
a medium  of  creation.  Primarily,  the  aim  of  the  Master 
Institute  of  United  Arts  is  to  instill  into  its  pupils  an 
unswerving  devotion  to  the  highest  ideals  of  art.  It 
aims  also  to  bring  to  youth  a new  inspiration  for  the 
unity  of  all  arts.  In  the  present  turmoil  men  have 
learned  that  in  art  is  to  be  found  the  one  solace,  the  one 
bridge  of  understanding  between  all  humanity.  But  if 
the  arts  would  endure  and  gain  strength ; if  they  would 
accomplish  their  mission  in  the  need  of  today’s  chaos, 
they  must  eschew  partisanship  and  unite  their  forces. 
The  Master  Institute  of  United  Arts  is  aiming  to  help 
the  achievement  of  this  ideal  by  imparting  to  the  student 
not  only  a profound  comprehension  of  his  own  medium 
of  expression  but  also  a respect  and  understanding  of 
the  crafts  of  his  fellow  artists.  With  such  a broader 
aspect,  we  may  strive  towards  that  time  when  creators 
of  all  branches  will  join  forces  and  battle  side  by  side 
for  the  coming  apotheosis  of  art. 


CORONA  MUNDI 

1 I XL-  ' 

INTERNATIONAL 
— ART  CENTER  — 

Humanity  is  facing  the  coming  events 

OF  COSMIC  GREATNESS.  HUMANITY  AL- 
READY REALIZES,  THAT  ALL  OCCURRENCES  ARE 
NOT  ACCIDENTAL.  THE  TIME  FOR  THE  CON- 
STRUCTION OF  FUTURE  CULTURE  IS  AT  HAND. 
BEFORE  OUR  EYES  THE  REVALUATION  OF 
VALUES  IS  BEING  WITNESSED.  AMIDST  RUINS  OF 
VALUELESS  BANKNOTES,  MANKIND  HAS  FOUND 
THE  REAL  VALUE  OF  THE  WORLD’S  SIGNIFI- 
CANCE. THE  VALUES  OF  GREAT  ART  ARE  VIC- 
TORIOUSLY TRAVERSING  ALL  STORMS  OF 
EARTHLY  COMMOTIONS.  EVEN  THE  ‘EARTHLY’ 
PEOPLE  ALREADY  UNDERSTAND  THE  VITAL  IM- 
PORTANCE OF  ACTIVE  BEAUTY.  AND  WHEN  WE 
PROCLAIM:  LOVE,  BEAUTY  AND  ACTION,  WE 
KNOW  VERILY,  THAT  WE  PRONOUNCE  THE 
FORMULA  OF  THE  INTERNATIONAL  LANGUAGE. 
AND  THIS  FORMULA,  WHICH  NOW  BELONGS  TO 
THE  MUSEUM  AND  STAGE  MUST  ENTER  EVERY 
DAY  LIFE.  THE  SIGN  OF  BEAUTY  WILL  OPEN  ALL 
SACRED  GATES.  BENEATH  THE  SIGN  OF  BEAUTY 
WE  WALK  JOYFULLY.  WITH  BEAUTY  WE  CON- 
QUER. THROUGH  BEAUTY  WE  PRAY.  IN  BEAUTY 
WE  ARE  UNITED.  AND  NOW  WE  AFFIRM  THESE 
WORDS— NOT  ON  THE  SNOWY  HEIGHTS,  BUT 
AMIDST  THE  TURMOIL  OF  THE  CITY.  AND  REAL- 
IZING THE  PATH  OF  TRUE  REALITY,  WE  GREET 
WITH  A HAPPY  SMILE  THE  FUTURE.” 

" BEAUTY  AND  WISDOM”  JULY  11  th,  1922 


THE  AIMS 


In  the  carrying  out  of  its  aims,  as  an  International 
Art  Center,  CORONA  MUNDI  will  pursue  the  fol- 
lowing activities: 

To  hold  exhibitions,  and  to  arrange  publications, 
productions,  lectures  and  concerts. 

To  arrange  touring  and  loan  exhibitions,  planning 
them  in  all  kinds  of  galleries,  factories  and  schools, 
even  in  hospitals,  prisons,  and  in  villages  far  from 
centers  of  art. 

To  buy  and  sell  art  treasures  and  act  as  agents 
for  all  types  of  art,  on  the  most  reasonable  basis. 

To  assist  Museums  in  the  completion  of  their  col- 
lections, through  donations  and  subscriptions. 

To  organize  artistic  and  archaeological  research 
expeditions. 

To  establish  agencies  and  branches  in  all  foreign 
countries. 

To  catalogue  and  systematize  collections;  expertize 
and  restore. 


310  RIVERSIDE  DRIVE 


NEW  YORK 


ROERICH 

MUSEUM 

— FOUNDED  — 

17  NOVEMBER 

NEW  YORK 

Louis  L.  Horch  Maurice  Lichtmann 

President  Vice-President 

Frances  R.  Grant 

Executive  Director 


Open  Free  to  Public 
on 

Sundays  and  Holidays 
from  io  A.M.  to  5 P.M. 


310  RIVERSIDE  DRIVE 

NEW  YORK 


FEDERAL  PRINTING  COMPAN 
NEW  YORK  CITY 


GETTY  CENTER  LIBRARY 


3 3125  00954  3154 


